David Selznick and Since You Went Away
"I have a different concept of producing than other producers. Some producers are money men, and others are just lieutenants. For me to produce is to make a picture. As a producer,
I can maintain an editorial perspective that
I wouldn't have as a director. I consider myself first a creative producer, then a showman and then a businessman. You need all three things to succeed in the business today."
-David O. Selznick
The film Since You Went Away was released in 1944. This epic film attempted to relate to the American audience that was dealing with the war foreclosing and the flux of soldiers coming home at the time. The Hollywood studios were constantly trying to do their part for the war buy making films about the war in a fairy tale "Hollywood" style. Since You Went Away crossed these boundaries, and the movie audience at the time, positively responded for this reason. The producer and screenwriter of the film knew America craved this portrayal.
Critics of the film from this period, applauded it's "realism", but in hindsight studies of the film in the seventies and eighties were a little more critical of the film. David O. Selznick was the man behind the vision of this film and
Selznick is best known for film classic's like; Gone With the Wind, (from which the formula of this movie draws heavily from) Rebecca, and King Kong. This film was a special project for Selznick at the time, and it was seen as his contribution to the war effort. The academy awards recognized Selznick's effort and nominated his film for best picture of 1944.
David Selznick was known as a one of the great creative producers- along side
Walt Disney. A creative producer is usually "a powerful mogul who supervises the production of a film in such exacting detail that he was virtually its artistic creator." (Eyman p. 121) In this period, Selznick's style was remembered best by his epic length movies in which he paid special attention to detail. His films catered to the female market but also had potential to cross over to the male segment. Selznick was "increasingly becoming aware of the commercial value of his name." (Fenster p.36) He decided to repeat the formula that worked well in Gone With the Wind and made a decision to purchase a war novel/diary from Margaret Wilder. Since You Went Away spawned from Wilder's novel, after Selznick spent many hours on developing the screenplay and hiring the right cast. The war film was a popular genre to produce during the war
...t have an ultimate goal to express something they care about on film. They must not only express this in their script, but carry through on it by directing, producing and pulling together many other aspects of the film by themselves. Three filmmakers that fit this description to a “t” are Kevin Smith, Spike Lee and Alfred Hitchcock. These three men all went out with the same goal: To express their views of life in extraordinary films. They all went above and beyond their call of duty and are now ranked among the top filmmakers of history, the rank of film auteurs.
In conclusion, the main point of The Green Berets was to convince its audience the Vietnam War was essential; conversely, the Ugly American attempted to berate it. However, it is also clear that both had a common goal; one that expressed the cruelty war can have. John Wayne’s defeat-all-communists approach was becoming a less popular opinion by the time the movie was released. Instead, the ideals The Ugly American conveyed were the most popular. Unless these two styles of thinking are reconciled, the countries of the world are destined to be trapped in a prolonged war.
Gone with the Wind is a novel that is set during the civil war. During the second part, the protagonist Scarlett reads a letter that was sent by a confederate soldier named Ashley. The letter talks about his opinion on the war and the reason he fights. Ashley joined the war with the hopes of fighting for States’ Rights and preserving the old ways. However, once the fighting started he realized that the old ways are not going to come back, “And I belong in those old times. I do not belong in this mad present of killing and I fear I will not fit into any future, try though I may.” He is not happy about fighting in the war, and he does not have confidence
Who would have thought that a brilliant career in filmmaking could have originated with a modest jar of Skippy Peanut Butter smeared on a neighbor’s window in a tiny Cincinnati suburb? One might not think that such an average boyhood prank could evolve a boy into a man who would become the most financially successful film director in history. Well, that is exactly where Leah Spielberg, Steven Spielberg’s mother, would trace her son’s initial entry into becoming one of our nation’s most creative storytellers. “His badness was so original,” she recalls (Stein 3).
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
Suid, Lawrence. "The Pentagon and Hollywood: Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)." American History/ American Film: Interpreting the Hollywood Image. Eds. John E. O'Connor and Martin A. Jackson. Boston: Frederick Ungar Publishing Co., 1979.
Elsaesser, Robert. "The Pathos of Failure: American Films in the 1970s" The Last Great American Picture Show: New Hollywood Cinema in the 1970s. Ed. Thomas Elsaesser, Alexander Horwath, Noel King. Amsterdam: Amsterdam University Press, 2004. 279-292. Print.
Classic film noir originated after World War II. This is the time where post World War II pessimism, anxiety, and suspicion was taking the world by storm. Many films that were released in the U.S. Between 1939s and 1940s were considered propaganda films that were designed for entertainment during the Depression and World War II. During the 1930s many German and Europeans immigrated to the U.S. and helped the American film industry with powerf...
Kane, Kathryn. Visions of War: Hollywood Combat Films of World War II. Ann Arbor: UMI Research Press, 1982.
World War Two was marketed to the civilians of every nation as a cataclysmic struggle requiring unprecedented public sacrifices and involvement, and in the early years of the war, the fear of defeat, invasion and scenarios all too horrific to comprehend motivated Americans to sacrifice, work hard and build the staggering infrastructure that produced the Allies to certain victory. In these early years of the War (1941-1942), propaganda did not need to be more than fear-mongering, yet America was not yet fully invested in open warfare. American airmen, sailors, Marines and soldiers were fighting and dying, but the vast majority of the American military- to say nothing of its civilian p...
Before the Second World War began Hollywood’s purpose lied within entertainment for the American people. After the war started, the main focus shifted to wartime propaganda. Film was used to display the war in a way that did not show its true colors—including the censorship of soldier causalities and other negative connotations that are a simple fact of war. There was even a time in which some actors became better known to America than politians. Through films, Hollywood began to make a statement of their anti-Nazi beliefs. They began to make motion pictures for American recruitment into the Army as well as many that supported the war effort, and intended to make other Americans more aware of the war’s effect on the United States, and how people can get involved. Many European countries banned these Hollywood films, as they began to affect not only America but many other countries that were involved in the war as well.
An example in the film that highlights the demise of the studio system is when Joe pitches a script idea to a producer of Paramount. Joe is quick to say that the film only needs one main character, has many outdoor locations and can be made ‘for under a million dollars’ (Joe Gillis, Sunset Boulevard, 1950), which highlights the idea of saving money on a s...
When deciding what movie to do for this particular paper I faced a few issues. I knew what the requirements were, but I wanted something different and something I could have fun watching and writing as well. So, after looking around and pondering movies for weeks I finally decided on a perfect choice The 60’s directed by Mark Piznarski?
Of all the 1980’s films, that can be described as “Eighties Teen Movies” (Thorburn, 1998) or “High School Movies” (Messner, 1998), those written and (with the exception of “Pretty In Pink” (1986) and “Some Kind of Wonderful”(1987)) directed by John Hughes were often seen to define the genre, even leading to the tag “John Hughes rites de passage movies” as a genre definition used in 1990s popular culture (such as in “Wayne’s World 2” (1994 dir. Stephen Surjik)). This term refers to the half dozen films made between 1984 and 1987; chronologically, “Sixteen Candles” (1984), “The Breakfast Club” (1985), “Weird Science” (1985), “Ferris Bueller's Day Off” (1986), “Pretty In Pink” (1986) and “Some Kind Of Wonderful” (1987) (the latter two being directed by Howard Deutch). For the purpose of this study, “Weird Science” and “Some Kind of Wonderful” shall be excluded; “Weird Science” since, unlike the other films, it is grounded in science fiction rather than reality and “Some Kind of Wonderful” as its characters are fractionally older and have lost the “innocence” key to the previous movies: as Bernstein states “the youthful naivete was missing and the diamond earring motif [a significant gift within the film] was no substitute” (Bernstein, 1997, p.89). Bernstein suggests that the decadent 1980s were like the 1950s, “an AIDS-free adventure playground with the promise of prosperity around every corner … our last age of innocence” (Bernstein, 1997, p.1). The films were very much a product of the time in terms of their production (“suddenly adolescent spending power dictated that Hollywood direct all its energies to fleshing out the fantasies of our friend, Mr. Dumb Horny 14 Year Old” Bernstein, 1997, p.4), their repetition (with the growth of video cassette recorders, cable and satellite with time to fill, and also the likes of MTV promoting the film’s soundtracks) and their ideologies.
The timing of this film was a significant factor in the story line. In the middle of the Great Depression unemployment and poverty were a major